Categories
Letter From The Editor Opinion

Boom, Boom, Boom, Boom

For 20 years, I drove from Midtown to Downtown, five days a week, on Vance Avenue. The Flyer‘s offices were on the bluff near the Tennessee Brewery, and Vance was the most direct route from my house. It was a thoroughfare that had seen better days. There were still remnants of those days — a couple of big Victorian mansions, a once-posh-looking apartment building — but the street was scruffy, worn out. The only businesses were a small market plastered with “We Take EBT” signs and a couple of faded funeral homes.

As you neared Downtown, you passed Foote Homes, the city’s last public housing project. It always seemed to be the one place full of life on Vance, the yards and front stoops filled with people and activity. It had been rehabbed in recent years and seemed like a stable, family-friendly place.

When the Flyer moved its offices to Union and Front more than a year ago, I stopped driving down Vance and hadn’t seen it in months — until last Friday night, when we were headed to a friend’s house in South Bluffs.

What a change. Foote Homes is gone; a large, grassy vacant space is all that remains. Nearby, new apartments have sprung up on Vance, and new houses are being built just to the south. These are basically instant neighborhoods, homes created to house people of “mixed incomes,” we’re told. They look nice.

So where did the Foote Homes residents go? Scattered over the city, I suspect. The operative urban renewal theory being to break up “pockets of poverty.” So, eh, too bad if you live in one of the pockets. You gotta move.

The building boom is everywhere, especially in downtown and the center city. Near my house, a giant sign reading “The Citizen” now illuminates the night sky, proclaiming the presence of a new apartment complex at McLean and Union — with more apartment buildings to come in nearby blocks. A large, barn-like apartment building is provoking controversy and protest near Overton Square. “Tall skinny” houses are popping up like mushrooms in Cooper-Young, often to the dismay of neighboring home-owners. “Boom, boom, boom, boom,” as John Lee Hooker once sang.

Jean-Luc Ourlin

John Lee Hooker

So who’s moving in? And who’s being forced out by higher housing prices and disappearing single-family homes for rent? You can probably guess. It’s the age-old balancing act between encouraging investment and not displacing people from their homes — the gentrification dilemma. City leaders will increasingly have to deal with this problem as developers continue to jump into the now-hot Memphis market.

We have only to look 180 miles east to Nashville for a perfect case study. According to a recent affordability study by Numbeo.com, the average rent for a one-bedroom apartment in center city Nashville is now $1,529 a month. In Memphis, it’s currently $901. (That’s right.) That latter number will no doubt change as gentrification spreads, forcing lower-income folks to the margins — unless we do something about it. I suspect this issue will become a significant one in the 2019 mayoral contest.

The current administration’s Memphis 3.0 mantra is “Build Up, Not Out.” I get what they mean. The city has been hurt badly by urban sprawl. It’s geographically too large for its population. But Memphis leaders, now and whoever they may be in the future, will need to continue to pay close attention to make sure the gold-rush to redevelop the city’s core doesn’t come at the cost of forcing long-time residents out, and infesting established neighborhoods with make-a-quick-buck, poorly designed housing.

We should encourage and welcome the developers and investors who are putting their money into Memphis. Fresh financial resources are an important part of making a city vibrant. But the investors’ influence should align with the needs and wishes of the city’s residents. Their developments should respect the architectural integrity of our neighborhoods. And care must be taken to avoid chasing away long-time residents who have “paid their dues,” so to speak, by anchoring those neighborhoods before they became “investments.”

Unfortunately, too often those with the big bucks are the ones directing our cities’ urban revivals. We need to look to other “it” cities like Nashville and learn from their successes — and their mistakes.

Categories
Music Record Reviews

Stunning Releases by Memphis-Related Artists Old and New: A Record Roundup


Julien Baker – Turn Out the Lights
(Matador)

On her second album, Baker, a regional girl done good, channels that Steinbeckian concept of the Hebraic timshel: “Thou mayest,” via a beautifully sparse Ardent Studios production. Baker’s incontestable lyrics dig at the blessing—and curse—of self-inflicted solitude, veering from one garish image to another with an understated delivery that frequently belies the urgency of the situation. “I shouldn’t have built a house in the middle of your chest,” she sings on “Sour Breath.” On “Happy to Be Here,” she croons about the “orchestra of shaking metal” inside her head. The title track reminds me of Richard and Linda Thompson’s 1982 classic Shoot Out the Lights, a snapshot of their failing relationship. The Thompsons sang about window blinds; Baker references drywall. Recorded and released 35 years later, her take on emotional pain hurts that much more, particularly because it’s amplified by her (presumed) innocence and youth.     
 Andria Lisle

Stunning Releases by Memphis-Related Artists Old and New: A Record Roundup

Linda Heck – Experimental Connections in the Memphis (Linda Heck)

Heck, a creative force who erupted on Memphis’ circa-1980s alternative scene, might’ve decamped for Sewanee, Tennessee, at the beginning of the millennium, but she’s still an undeniable fixture on the local circuit. I’ve spotted Heck’s all-black visage topped with a wacky baseball hat at shows of all varieties, ranging from blues concerts to garage rock house parties to rap performances, and every point in between. Recorded at Alan Hayes’ House of Hayes studio, Experimental Connections is a revelation: Heck has a commanding presence that hovers between Laurie Anderson and John Cale’s vocal deliveries. Collaborators include fellow ex-pat Greg Cartwright, the Nots’ Charlotte Watson, and Memphis Flyer music editor Alex Greene. The originals “Everything” and “Poor Little Stray”represent some of the best (and possibly most under-the-radar) Memphis music released this year, while her interpretation of Alex Chilton’s “Kanga Roo” is a fluxist masterpiece.   
Andria Lisle

Isaac Hayes – The Spirit of Memphis 1962-1976 
(Craft Recordings/Stax)

“Isaac has never gotten the credit,” writes Sam Moore (of Sam & Dave) in the book for this new box set. Actually, that’s debatable. He’s rightfully revered in this town and throughout the world. But Moore may have a point if one considers how far Hayes’ reach extended into other artists’ careers and identities. All the world loves “Shaft,” but how many appreciate the breadth of his musical understanding? This set could correct that, starting with the first disc, which highlights his talents as a songwriter and producer. The biggest Sam & Dave hits are there, of course, as are hits with Carla Thomas, but few listeners are aware that he produced solid soul sides with jazz vocal legend Billy Eckstine, or that Charlie Rich recorded Hayes-Porter songs for Hi Records, or that Hayes co-wrote the Booker T & the MGs classic, “Boot-leg”? From the Astors’ “Candy” to the Emotions’ “Show Me How,” the disc is packed with stone classics that deserve greater recognition. And that’s just Hayes behind the scenes.

Disc two takes up Hayes’ solo singles, and its here that his jazz influences (thanks, perhaps, to his time at Manassas High School?) really come to the fore. Even a little-known Christmas side, “The Mistletoe and Me” reveals a mighty hip interpolation of “Jingle Bells” into sly chord changes, and the instrumental excursions take his surprising-yet-natural innovations in arranging even further. Yes, “Theme from ‘Shaft’” is here, not to mention themes from “The Men” and “Three Tough Guys”. And, furthering the jazz tradition of investing great performances into time-honored standards, his re-imaginings of “By the Time I Get to Phoenix” or “The Look of Love” are just as original. If disc one highlights his powers of composition, disc two adds to that his powers of interpretation. Disc three drives the point home, focusing only on his cover versions, like his twelve minute “Walk On By,” which he made his own. These covers culminate in previously unreleased tracks from a 1972 concert in Chicago. Finally, the emphasis of disc four is all groove. It also treats us to newly released material, including a thirty-three minute version of “Do Your Thing.” As a bonus, a re-pressing of his first 45, recorded at American Studios before Hayes landed at Stax, is included — a lovely vinyl bon bon to top off four full-course platters.

The booklet, over fifty pages, is a little skimpy on some of the details for the tracks on disc one, but compensates with information on band members who played on Hayes’ own singles and albums. It also features a biographical essay by Robert Gordon, and other reminiscences by Hayes’ colleagues. None can compare with Moore’s recollections, who shared with Hayes the time-tested nickname of “Bubba.” And to top it off, as Moore writes, “I actually knew him when he had hair.”   
Alex Greene

Stunning Releases by Memphis-Related Artists Old and New: A Record Roundup (2)

John Lee Hooker – King of the Boogie  (Craft Recordings)

What are the first things you think of when you think of John Lee Hooker? A mean Mississippi Blues arriving by way of Detroit? Electric guitar boogies working one droning, hypnotic chord to its limit? The terrifying command in his voice? Listening to all the clear toe taps on the first disc of a new, generous, hundred-song collection called King of the Boogie, I kept thinking, in addition to all the rest, Hooker may be the world’s most underrated percussionist. He’d stamp out rhythms on a piece of plywood, or maybe a wooden chair. Critics are quick to deploy the word primitive, when nothing could be more modern in its perfect economy and purpose.

I’ve got a theory about King of the Boogie. Folks will be divided into two camps. One will prefer disc one’s collection of Hooker’s early singles, while the other will prefer disc 5’s collection of duets pairing the man from Vance with artists like Santana, Canned Heat, BB King, and Bonnie Raitt. How one feels about the remaining three discs will depend on which camp you fall into.

Hooker, the son of a Mississippi church woman and a Baptist minister, went North looking for opportunity. He swept floors for Ford while developing a distinctive, relentlessly driving sound. His biography is effectively condensed for King of the Boogie’s illustrated liner notes, which includes a few lines about the time he spent  in Memphis in the early 1930’s, working as an usher at the New Daisy Theater on Beale Street.

Disc one is Hooker distilled, and an exciting jolt of raw  acoustic sound, unconstrained by traditional forms. The next two discs map his evolution from acoustic to electric and from idiosyncratic solo player to potent bad leader. The fourth disc is all live cuts, while disc five is the smoothest, and most evidently produced in a thoroughly comprehensive collection pulling together everything from the early Modern 78s to some terrific collaborations with Little Eddie Kirkland, culminating (maybe a little too predictably) with Eric Clapton on a reprise of “Boogie Chillen.”

If you’ve got a blues lover in your life this holiday season, King of the Boogie is a terrific package bringing together all the essentials, with plenty of lagniappe.
Chris Davis